Here is the first of three still lifes all painted in sequence. When I got to the end of the third I went back to the first and loosened it up. I often find that it takes me three paintings to be able to let go.
The last honey jar. I particularly like painting what I see through glass. The distortion keeps the tightness away. As your heads moves what you see can drastically change, so I have to make choices and stick with them.
Another one I painted with my student who is working on painting flowers. She brought in a few geraniums and a glass. Couldn't have been more simple. I love the suggestion of the petals and stems. It's an idea of flower. That appeals to me. Not fussy.
First painting of the second batch of garlics. I recently lost the mothership garlics and now I have to wait until they come into season again. Losing them was like losing a friend. The mothership is here: http://kathyhirshart.blogspot.com/2014/11/the-mothership-and-lunar-modules-oil.html. Sold but not forgotten.
Once again nterested in the shadows, and what happens as light passes through glass. Trying to keep it loose, keep the paint fluid. I like the echoes of the curves of the onion greens and the ellipses of the glass.
One of my students was interested in painting a jar with honey in it. I poured one and worked out some of the issues of refraction and transparency. I think it basically comes down to "paint what you see."
Here's the third painting of the triptych. I'm in the process of switching to water miscible/soluble oils. Looking at these paintings from February makes me see that I need to work on making the water soluble oils juicier. My edges in these little red shoe paintings are freer, have more gesture, use thicker paint than the last couple of paintings I've done with the new paint.